Quotes about flute

A collection of quotes on the topic of flute, music, play, likeness.

Quotes about flute

“What's even worse than a flute? - Two flutes!”

Wolfgang Amadeus Mozart (1756–1791) Austrian Romantic composer

“If melodiously piping flutes sprang from the olive, would you doubt that a knowledge of flute-playing resided in the olive? And what if plane trees bore harps which gave forth rhythmical sounds? Clearly you would think in the same way that the art of music was possessed by plane trees. Why, then, seeing that the universe gives birth to beings that are animate and wise, should it not be considered animate and wise itself?”

Zeno of Citium (-334–-263 BC) ancient Greek philosopher

As quoted in De Natura Deorum by Cicero, ii. 8.

Art, Music, Way, Birth

“O Great Beyond, O the keen call of thy flute! I forget, I ever forget, that I have no wings to fly, that I am bound in this spot evermore.”

Rabindranath Tagore (1861–1941) Bengali polymath

5 <br class="br"> The Gardener http://www.spiritualbee.com/love-poems-by-tagore/ (1915) <br class="br">Context: I am restless. I am athirst for faraway things. My soul goes out in a longing to touch the skirt of the dim distance. O Great Beyond, O the keen call of thy flute! I forget, I ever forget, that I have no wings to fly, that I am bound in this spot evermore.

Flying, Forgetting

“It is sweet to dance to violins
When Love and Life are fair:
To dance to flutes, to dance to lutes
Is delicate and rare:
But it is not sweet with nimble feet
To dance upon the air!”

Oscar Wilde book The Ballad of Reading Gaol

Pt. II, st. 9
The Ballad of Reading Gaol (1898)

Love, Life, Dance

“The flute is the symbol of spiritual call, the call of divine love.”

Hariprasad Chaurasia (1938) Indian bansuri player

In Discography, 19 December 2013, Official website Hariprasad Chaurasia http://www.hariprasadchaurasia.com/discography-3/,

Love

“Listen intently to a voice singing without words. It may charm you into crying, force you to dance, fill you with rage, or make you jump for joy. You can't tell where the music ends and the emotions begin, for the whole thing is a kind of music—the voice playing on your nerves as the breath plays on a flute. All experience is just that, except that its music has many more dimensions than sound. It vibrates in the dimensions of sight, touch, taste, and smell, and in the intellectual dimension of symbols and words—all evoking and playing upon each other.”

Alan Watts (1915–1973) British philosopher, writer and speaker

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 95

Music, Rage, Singing, Joy

“Mirror becomes a razor when it's broken. A stick becomes a flute when it's loved.”

Yoko Ono (1933) Japanese artist, author, and peace activist

Source: Grapefruit: A Book of Instructions and Drawings

Love

“I almost never go to temples. I don't find the time. I'm not religious in that sense. My religion is my music. Lord Krishna is my God. Whenever I want to pray, whenever I want to meditate and concentrate, I take my flute. I can feel God. The feeling is difficult to explain, but I feel lost when I'm in it.”

Hariprasad Chaurasia (1938) Indian bansuri player

Pandit Hariprasad Chaurasia in Hinduism Today

God, Religion, Music, Feeling

“Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation…accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'”

George Perle (1915–2009) American composer

Page 42
The Listening Composer

Music

“CAROL: You don’t care for the music?
JACQUE: Music! It’s just a gimmick to sell lutes and flutes.”

Joe Haldeman book Mindbridge

Source: Mindbridge (1976), Chapter 18 “Chapter 6: Prelude” (p. 64)

Music

“At the Everyman Cinema there is a season of Satyajit Ray. He watches the Apu trilogy on successive nights in a state of rapt absorption. In Apu's bitter, trapped mother, his engaging, feckless father he recognizes, with a pang of guilt, his own parents. But it is the music above all that grips him, dizzyingly complex interplays between drums and stringed instruments, long arias on the flute whose scale or mode — he does not know enough about music theory to be sure which — catches at his heart, sending him into a mood of sensual melancholy that last long after the film has ended.”

J.M. Coetzee (1940) South African writer

Youth (2002)

Music, Mood, Parent, Success

“Autumn, cloud blades on the horizon.
The west wind blows from ten thousand miles.
Dawn, in the clear morning air,
Farmers busy after long rain.
The desert trees shed their few green leaves.
The mountain pears are tiny but ripe.
A Tartar flute plays by the city gate.
A single wild goose climbs into the void.”

Du Fu (712–770) Chinese poet of the Tang Dynasty

"Clear After Rain" (雨晴), as translated by Kenneth Rexroth in One Hundred Poems from the Chinese (1971), p. 16

Mountain, Business, Autumn, Tree

“Man's role is uncertain, undefined, and perhaps unnecessary. By a great effort man has hit upon a method of compensating himself for his basic inferiority. Equipped with various mysterious noise-making instruments, whose potency rests upon their actual form's being unknown to those who hear the sounds — that is, the women and children must never know that they are really bamboo flutes, or hollow logs, or bits of elliptic wood whirled on strings — they can get the male children away from the women, brand them as incomplete, and themselves turn boys into men. Women, it is true, make human beings, but only men can make men.”

Margaret Mead (1901–1978) American anthropologist

Source: 1940s, Male and Female (1949), p. 84 as cited in: John Whiting, Eleanor Hollenberg Chasdi, Roy D'Andrade (2006) Culture and Human Development: The Selected Papers of John Whiting. p. 240

Women, Men, Children, Boy

“Dry bones make good flutes”

Avner Strauss (1954) Israeli musician

The Hollow Flute, from "Voices Within The Ark" Howard Schwartz, Jewish Poets, [ISBN 978-0380761098].

“In my past there is Krishna. In my dreams I dream of recreating a huge college of flutists, a veritable Vrindaban in which students will arrive to learn and study with satchels full of flutes, live in mud huts, eat at a common langar. A modern Vrindaban from which a thousand flutes will ring out each day. For what else is there? When my breath is gone and I can not play anymore what do I leave behind? Some dedicated students! When you leave nothing behind, you cry at the point of death, but I still dream, I dare to dream that through my students my flute will be left behind as the memory of Krishna.”

Hariprasad Chaurasia (1938) Indian bansuri player

In "Discography".

Death, Dreams, Study, Learning

“Listen to the flute it tells you a story' A story of nostalgia and separation.”

Mahmud Tarzi (1865–1933) Afghan writer

Mahmud Tarzi, poem written in Turkey. Article by Dr. Bashir Sakhwaraz, Role of Afghan Writiers in Afghan Inependence

Nostalgia

“Every day I practise my flute. I've been doing it for decades and every day I find something new that inspires me for all the rest that I do in my days.”

Philippe Kahn (1952) Entrepreneur, camera phone creator

Interview with the Financial Times reporter, 2002.

“My ears open nasals! beware! such joy is yours o my people to sense see ear scent drink everything everything everything taratatatatata the machineguns shouting twisting under a thousand bites slaps traaktraak cudgellings whippings pic pac POUMTOUMB juggling clowns’ jump in full sky height 200 meters it's the gunshooting Downwards guffaws of swamps laughter buffalos chariots stings prancing of horses ammunition-wagons flue flac zang chaak chaak rearings pirouettes patatraak bespatterings manesneighings i i i i i i i medley tinklings three bulgarian batallions on the move crook- craak (double bar slowly) Choumi Maritza o Karvavena officers' shouts copper plates knocking against each other pam ici (vite) pac over there BOUM-pam-pam-pam here there there farther all around very high look-out goddamnit on the head chaak marvelous! flames flames flames flames flames flames flames crawl from forts over there Choukri Pacha telephone orders to 27 forts in turkish German hello Ibrahim! Rudolf hello! hello! actors roles blowing-echoes odor-hay-mud-manure I can't feel my frozen feet stale odor rotting gongs flutes clarinets pipes everywhere up down birds twitter beatitude shade greenness cipcip ip-zzip herds pastures dong-dong-dong-ding-bééé Orchestra”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Source: 1910's, The Art of Noise', 1913, p. 8

People, Feeling, Drink, Bird

“Sudden and near the trumpet's notes out-spread,
And soon his eyes could see the metal flower,
Shining upturned, out on the morning pour
Its incense audible; could see a train
From out the street slow-winding on the plain
With lyres and cymbals, flutes and psalteries,
While men, youths, maids, in concert sang to these
With various throat, or in succession poured,
Or in full volume mingled. But one word
Ruled each recurrent rise and answering fall,
As when the multitudes adoring call
On some great name divine, their common soul,
The common need, love, joy, that knits them in one whole.
The word was "Jubal!"… "Jubal" filled the air,
And seemed to ride aloft, a spirit there,
Creator of the choir, the full-fraught strain
That grateful rolled itself to him again.
The aged man adust upon the bank
— Whom no eye saw — at first with rapture drank
The bliss of music, then, with swelling heart,
Felt, this was his own being's greater part,
The universal joy once born in him.”

George Eliot (1819–1880) English novelist, journalist and translator

The Legend of Jubal (1869)

Love, Men, Youth, Age

“The soft complaining flute,
In dying notes, discovers
The woes of hopeless lovers.”

John Dryden (1631–1700) English poet and playwright of the XVIIth century

St. 4. <br class="br"> A Song for St. Cecilia's Day http://www.englishverse.com/poems/a_song_for_st_cecilias_day_1687 (1687)

Lovers

“The yellow sand rises as high as white cloud;
The lonely town is lost amid the mountains proud.
Why should the Mongol flute complain no willows grow?
Beyond the Jade Gate vernal wind will never blow!”

Wang Zhihuan (688–742) Chinese poet

"Out Of The Great Wall" (《出塞》), trans. Yuanchong Xu

Mountain

“Once I loved, and she I loved was darkened.
Again I loved, and love itself was darkened.
Vainly we follow the circle of shadowy days.
The screen at last grows dark, the flutes are silent.
The doors of night are closed. We go our ways.”

Conrad Aiken (1889–1973) American novelist and poet

The House of Dust (1916 - 1917)

Love, Way, Night

“I clearly see you a tapeworm, but not a cobra, not a cobra at all…no good at the flute! (…) I’ll go applaud you when you finally become a true monster, when you’ll have paid them, the witches, what you have to, their price, so they transmute you, blossom you, into a true phenomenon. Into a tapeworm that plays the flute.”

Louis-ferdinand Céline (1894–1961) French writer

To the Fidgeting Lunatic
in Albert Paraz, Le Gala des Vaches, Éditions de l’Élan, Paris, 1948 ; À l'agité du bocal, et autres textes de L.-F. Céline, l'Herne / Carnets de l'Herne ISBN 9782851976567 2006, 85 p. ; To the Fidgeting Lunatic (Céline on Sartre), translation by Constantin Rigas.

“In the meanwhile I retire to my well-earned bath-chair, from which I shall watch with a fatherly eye the philosophic gambols of my younger friends as they dance to the highly syncopated pipings of Herr Wittgenstein's flute.”

C. D. Broad (1887–1971) English philosopher

From the Preface to Mind and Its Place in Nature (1925)

Dance

“The first era of the Upper Paleolithic, the Aurignacian, is notable for several reasons, one of which is the absence of painted caves. …One of the most evocative pieces from this era, from the Abri Blanchard in southwestern France, is a flute. Music must have been an integral part of Upper Paleolithic life too.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Life, Music, Parting, Painting

“They left no stone unturned in de-Hinduizing or denationalizing the Hindus, in effect de-Indianizing the Indians, in various ways. It is preposterous to question their credentials as true Muslims. Their 'Ulama' exhorted them off and on to make the best of their sword to root out the Hindus and convert India into a full-fledged Dar al-lslam. Sayyid Nur ad-Din Mubarak Ghaznawi Suhrawardi, at once a leading Sufi, a leading Muslim divine, and the Shaykh al-lslam of Sultan Iltutmish. led a deputation of Ulama to the Sultan and advised him to give an ultimatum to the Hindus to embrace Islam or face death. The Sultan’s prime minister pleaded powerlessness on his behalf to do so." Then the Shaykh offered an alternative suggestion: ’… the king should at least strive to disgrace, dishonour, and defame the Mushrik and idol- worshipping Hindus…. The sign of the kings being protectors of the faith is this: When they see a Hindu, their faces turn red and they wish to swallow him alive….' A similar suggestion was made to Jalal ad-Din Khalji, who returned ruefully: 'Don’t you see that Hindus, who are the worst enemies of God and of Islam, pass daily below my royal palace to the Jamuna beating drums and playing flutes, and practise before our eyes the worship of the idols with all the rituals? Fie on us unworthy leaders who declare ourselves Muslim kings!… Had I been a Muslim ruler, a real king, or a prince and felt myself strong and powerful enough to protect Islam, any enemy of God and the faith of the Prophet of Islam would not have been allowed to chew betels in a care-free manner and put on a clean garment or live in peace. Qadi Mughis ad- Din’s advice to Sultan Ala' d-Din Khaiji was on similer lines, and the Sultan confessed that he had humiliated and pauperized the Hindus to his utmost even though without caring to know the provisions of the Shari'ah on the subject.”

Harsh Narain (1921–1995) Indian writer

Myths of Composite Culture and Equality of Religions (1990)

Death, God, Peace, Faith

“Teach him how you will, a pig will never play the flute.”

Robert Jordan (1948–2007) American writer

Thom Merrilin
(15 January 1990)

“Now as the Paradisiacal pleasures of the Mahometans consist in playing upon the flute and lying with Houris, be mine to read eternal new romances of Marivaux and Crebillon.”

Thomas Gray (1716–1771) English poet, historian

To Mr. West, Letter iv, Third Series; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Pleasure, Lying, Reading

“I find it breathtaking […] that when musical composition competitions are held, the contestants often do not submit tapes or records (or live performances) of their works they submit written scored, and the judges confidently make their aesthetic judgements on the basis of just reading the scores and hearing the music in their minds. How good are the best musical imaginations? Can a trained musician, swiftly reading a score tell just how that voicing of dissonant oboes and flutes over the massed strings will sound?”

Daniel Dennett book Consciousness Explained

Consciousness Explained (1991)

Music, Confidence, Imagination, Reading

“Children defer to adults because they’re older, bigger and stronger. But it’s also because children believe that adults have reasons for what they do. There was nothing magical about the Pied Piper of Hamelin’s flute. The Piper acted like he knew where he was going and the children followed him into the dark mountains where they were never seen again.”

John Twelve Hawks American writer

Against Authority: Freedom and the Rise of Surveillance States (2014)

Children, Mountain

“Life here [in Paris, 1885] is quite different. You hardly ever see a dog on a lead; you come across little wagons being pulled by dogs that are often so small that you can't imagine how on earth they manage to shift such enormous weights. You see shepherdesses in the middle of the street herding goats and sometimes playing on their flutes. I think I'll go to the Louvre and the Salon today.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

1880 - 1895

Life, Dogs, Imagination, Thinking

“I like the juicy stem of grass that grows
within the coarser leaf folded round,
and the butteryellow glowin the narrow flute from which the morning-glory
opens blue and cool on a hot morning.”

Denise Levertov (1923–1997) Poet

Pleasures
With Eyes at the Back of Our Heads (1960)

Grass

“Sometime 30 years ago I wrote a piece for the Stan Kenton Neophonic Band. The night of the concert at the Music Center Auditorium in Los Angeles Stan counted it off much too fast. When it came to the recapitulation at the end, the woodwind instrumentation had changed to mixtures of piccolos, flutes and saxes; and being too fast, it turned into a woodwind knuckle-buster. I was hiding on the floor between the seats. Later, when this was recorded, Stan counted too slowly. That recording was released without my piece. Years later when Stan created his "The Creative World of Stan Kenton" record company, Capitol was so angry that he had left them and released everything they had in the can to jeopardize his market. My piece was released with the first third cut off. I rewrote this for my present instrumentation and when we first went through it, while conducting, I was in tears to finally hear what I had written 30 years ago.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Discussing "Piece for Soft Brass, Woodwinds and Percussion"; from the liner notes for Jazz Corps

World, Music, Angels, Tear

“Presently, however, we came to a small clearing and there, squatting at the mouth of its burrow was the musician responsible for the ringing, flute-like cry — a fat ground squirrel, wearing a tasteful suit of rust-red and grey fur. He sat as upright as a guardsman at the entrance to his home and his ribcage pumped in and out as he gave his musical warning cry. His big, liquid eyes stared at us with that intense, slightly inane expression that most squirrels wear, and his little paws trembled with his vocal efforts.”

Gerald Durrell (1925–1995) naturalist, zookeeper, conservationist, author and television presenter

How to Shoot an Amateur Naturalist (1984)

Music, Home, Effort, Cry

“villas with columns in different styles [in Louisiana, America] painted white, in gardens of magnolias, orange trees, banana trees, negroes in old clothes like characters from La Belle Jardiniere.... rosy white children in black [negro] arms.... a brilliant light which streams my eyes.... the Negresses of all shades, holding in their arms little white babies, so white, against white houses with columns of fluted wood and in gardens of orange trees.”

Edgar Degas (1834–1917) French artist

quote on his journey through America during 1872
Quote from his letter, Louisiana, America 1872; as cited in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 113-114
1855 - 1875

Children, Quotes, Tree, Light

“The flute sings of an ancient riverbead one hundred fathoms deep, far below the Potaro River that runs to the Waterfall. Two rivers then. The visible Potaro runs to the Waterfall. The invisible stream of the river of the dead runs far below, far under our knees. The flute tells of the passage of the drowned river of the dead and the river of the living are one quantum stream possessed of four banks.”

Wilson Harris (1921–2018) Guyanese writer

The Four Banks of the River of Space (1990)

Singing, Dead

“The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all "the ends of the world are come," and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed! All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Greece, the lust of Rome, the reverie of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of the Borgias. She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants: and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands. The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern thought has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life. Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea.”

Walter Pater (1839–1894) essayist, art and literature critic, fiction writer

On the Mona Lisa, in Leonardo da Vinci <br class="br"> The Renaissance http://www.authorama.com/renaissance-1.html (1873)

Love, Life, Women, Men

“Flute is an instrument which gives you more power as you play. It's like the breathing exercises in yoga. I'm able to increase my lung power by playing more. But because of travelling I don't get time to practice”

Hariprasad Chaurasia (1938) Indian bansuri player

Pandit Hariprasad Chaurasia in Hinduism Today

Travel, Exercises, Time

“Love is made out of ecstasy and wonder;
Love is a poignant and accustomed pain.
It is a burst of Heaven-shaking thunder;
It is a linnet's fluting after rain.”

Joyce Kilmer (1886–1918) American poet, editor, literary critic, soldier

Main Street and Other Poems (1917), In Memory

Love, Pain

“Timotheus, to his breathing flute,
And sounding lyre,
Could swell the soul to rage, or kindle soft desire.”

John Dryden (1631–1700) English poet and playwright of the XVIIth century

Source: Alexander’s Feast http://www.bartleby.com/40/265.html (1697), l. 158–159.

Soul, Rage

“My father was a wrestler and though everyone liked music in the family, it was a taboo to even think of a musical career. I used to wrestle to keep him happy. When I was about nine years old, I started learning vocal music from Pandit Rajaram, secretly! At the age of fifteen, I heard the flute for the first time on Allahabad radio. It was as if I was being transported to heaven. The flautist was Pt. Bholanath and that was the major turning point in my life. Soon after, while I was still in my teens I got an offer to work as a staff artist on Cuttack radio in Odisha/ and I accepted. It was then that my father found out that I was a musician. It was a major shock for him.”

Hariprasad Chaurasia (1938) Indian bansuri player

On Parents and Passion.
Melodies of Brindavan: Pandit Hariprasad Chourasia

Life, Age, Family, Music

“I've started painting much more freely, and faster. I think it's working in the theatre that did it. You know what the Glyndebourne scene-painters said about my The Magic Flute? They said they had to wear sunglasses to paint it.”

David Hockney (1937) British artist

"Portrait of the Artist as a Naughty Boy," interview with John Mortimer, In Character (1983) p. 97
1980s

Thinking, Painting

“Firishta' attributes to Sikandar the demolition of all the Kashmirian temples save one, which was dedicated to Mahadeva, and which only escaped ' in consequence of its foundation being below the surface of the neighbouring water.'. (…) He most likely gave orders that they should all be overturned; and I have no doubt that many of the principal temples were thrown down during his reign. For instance, the tomb of his own Queen in Srinagur is built upon the foundation, and with the materials of a Hindu temple; likewise the wall which surrounds the tomb of his son Zeinu-1 Abidin was once the inclosure of a Hindu temple; and lastly the entrance of a masjid in Nowa-Shehra of Srinagur, which, according to its inscription, was built during the reign of his son Zeinu-1 Abidin, is formed of two fluted pillars of a Hindu peristyle. These instances prove that at least three different temples in the capital alone must have been overthrown either by Sikandar or by one of his predecessors. But as the demolition of idol-temples is not attributed to any one of the earlier kings, we may safely ascribe the destruction of the three above mentioned to Sikandar himself.”

Sikandar Butshikan

Elliot, H. M. (Henry Miers), Sir; Ed. John Dowson (1871). The History of India, as Told by Its Own Historians. The Muhammadan Period. London : Trübner & Co. Vol VI. Appendix, Note A. ON THE EARLY USE OF GUNPOWDER IN INDIA.

Water

“Once cannot tame the voices of the flute, voices of such uncanny lightness yet miracle of being that they are able to tilt the two rivers, the visible and the invisible rivers, into diagrammatic discourse; and in so doing to create the four banks of the river of space into a ladder upon which the curved music of the flute ascends. Those banks are dislodged upwards into rungs in the ladder and into stepping stones into original space.”

Wilson Harris (1921–2018) Guyanese writer

The Four Banks of the River of Space (1990)

Music, Light

“He was known to his countrymen as the Nightingale, but his own sweet-sounding name of Bird's-meadow (Vogelweide) suggests even more directly the pure, true, flute-like strain which he poured into Europe’s choir of voices.”

Walther von der Vogelweide (1170–1230) Middle High German lyric poet

Laurie Magnus A General Sketch of European Literature in the Centuries of Romance (London: Kegan Paul, Trench, Trubner & Co., 1918) pp. 27-28.
Praise

Bird

“The only people that ever made a difference to Billy were the Provos, and they were cunts as well. Ah've no illusions aboot them as freedom fighters. The bastards made ma brar intae a pile ay cat food. But they jist pulled the switch. His death was concieved of by these Orange cunts, comin through every July with thir sashes and flutes, fillin Billy's stupid head with nonsense aboot crown and country and aw that garbage. They'll go home chuffed fae the day. They kin tell aw thir mates aboot how one ay the family died, murdered by the IRA, while defending Ulster. It'll fuel thir pointless anger, get them bought drinks in pubs, and help establish their doss-bastard credibility wi other sectarian arseholes.”

Irvine Welsh book Trainspotting

Renton, "Bang to Rites".
Trainspotting (1993)

Death, People, Stupidity, Family

“Producers of opera nowadays usually make the mistake of translating each particular orchestral phrase into terms of a movement on the stage. In this matter one should proceed with a maximum of caution and good taste. There is no objection to bringing life to into the production by changes of position and new nuances of acting during repetitive passages of music, especially in arias. Preludes of one or two bars frequently, and especially in Mozart, clearly express some gesture on stage. But each trill on the flute does not represent a wink on the prima donna, nor every delayed chord on the strings a step or gesture. Whole passages, especially in the finales, are pure concert music and are best left undisturbed by “play acting.””

Richard Strauss (1864–1949) German composer and orchestra director

Recollections and Reflections

Life, Music, Change

“The music ends. The screen grows dark. We hurry
To go our devious secret ways, forgetting
Those many lives... We loved, we laughed, we killed,
We danced in fire, we drowned in a whirl of sea-waves.
The flutes are stilled, and a thousand dreams are stilled.”

Conrad Aiken (1889–1973) American novelist and poet

The House of Dust (1916 - 1917)

Love, Secret, Dreams, Music

“The collapse of the Ice Ages hypothesis does not, of course, settle the debate about whether there are racial differences in genes for intelligence. If universities had their way, the necessary research will never be done. They fund the most mundane research projects, but never seem to have funds to test for genetic differences between races. I tell US academics I can only assume that they believe that racial IQ differences have a genetic component, and fear what they might find. They never admit that the politics of race affects their research priorities. It is always just far more important to establish whether squirrels enjoy The Magic Flute.”

James Robert Flynn (1934–2020) New Zealand scholar

Source: Are We Getting Smarter?: Rising IQ in the Twenty-First Century (2012), p. 36, Box 4

Age, Fear, Way, Intelligence

“The Acropolis – the spaces between the columns – the depth of flutings to touch – the breadth, weight and volume – the magnificence of a single marble bole up-ended -. The passionate warm colour of the marble and all-pervading philosophic proportion and space.”

Barbara Hepworth (1903–1975) English sculptor

1961 - 1975

Passion

“I recall the sudden arpeggios of laughter lilting across the tender, springtime grass — gay-welling, far-floating, fluent, spontaneous, a bell-like feminine fluting, then suppressed; as though snuffed swiftly and irrevocably beneath the quiet solemnity of the vespered air now vibrant with somber chapel bells.”

Ralph Ellison book Invisible Man

Source: Invisible Man (1952), Chapter 5.

Laughter, Grass

“All night have the roses heard
The flute, violin, bassoon;
All night has the casement jessamine stirr'd
To the dancers dancing in tune;
Till a silence fell with the waking bird,
And a hush with the setting moon.”

Alfred, Lord Tennyson (1809–1892) British poet laureate

Part I, section xxii, stanza 3
Maud; A Monodrama (1855)

Bird, Silence, Dance, Night

“Jubal was not a name to wed with mockery.
Two rushed upon him: two, the most devout
In honor of great Jubal, thrust him out,
And beat him with their flutes.”

George Eliot (1819–1880) English novelist, journalist and translator

The Legend of Jubal (1869)
Context: But ere the laughter died from out the rear,
Anger in front saw profanation near;
Jubal was but a name in each man's faith
For glorious power untouched by that slow death
Which creeps with creeping time; this too, the spot,
And this the day, it must be crime to blot,
Even with scoffing at a madman's lie:
Jubal was not a name to wed with mockery.
Two rushed upon him: two, the most devout
In honor of great Jubal, thrust him out,
And beat him with their flutes. 'Twas little need;
He strove not, cried not, but with tottering speed,
As if the scorn and howls were driving wind
That urged his body, serving so the mind
Which could but shrink and yearn, he sought the screen
Of thorny thickets, and there fell unseen.
The immortal name of Jubal filled the sky,
While Jubal lonely laid him down to die.

Wedding

Hariprasad Chaurasia (1938) Indian bansuri player

A modern Vrindaban from which a thousand flutes will ring out each day. For what else is there? When my breath is gone and I can not play anymore what do I leave behind? Some dedicated students! When you leave nothing behind, you cry at the point of death, but I still dream, I dare to dream that through my students my flute will be left behind as the memory of Krishna.
In "Discography".

Past, Study, Dreams, Learning